In Caldosa #1, figures are engraved on the outside of a giant recycled cooking pot used to prepare caldosa in Cuba. Similar to ajiaco, this soup is made of all available vegetables and meats in a household, intended to feed many mouths. It is often cooked in the backyard under coals when there is no fuel for a gas or electric cooker.  After 1959, the tradition of making caldosa was appropriated by revolutionary organizations such as the Committees for the Defense of the Revolution (CDRs). On festive days, the neighbors would prepare caldosa and eat it together in the street. The move from the private to the public space, in addition to the political content of the celebrations, changed the meaning of this rich stew.  In Fabelo’s work, a layer of black matte paint, recalling stains from cooking with charcoal, covers the outside of the receptacle. The carved lines of the drawings bring out the silver of the aluminum underneath. Different creatures are depicted around the pot. Fabelo portrays humans who have morphed with animals in ways that go from gracious and sensual to openly sexual and grotesque, as varied as the cultural experience of ajiaco can be in Cuba.
Identification
Title
Caldosa I (Soupy #1)
Production Date
2015
Object Number
2017.101
Credit Line
Collection Pérez Art Museum Miami, gift of Jorge M. Pérez
Copyright
© Roberto Fabelo 
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Physical Qualities
Medium
Engraved metal vessel
Dimensions
20 x 18 x 18 inches
Visual Description
Roberto Fabelo is a Cuban painter, illustrator, sculptor, and creator of assemblages and installations. His work, Caldosa I is a large, black metal pot with engraved images made in 2015. The cylinder-like object resembles a large stockpot used on a stovetop. This example is one of many the artist collected from old institutions and restaurants, later recycled for artistic use. It measures twenty inches tall and roughly eighteen inches in diameter. Fabelo is known to draw with eerie precision on all kinds of objects and surfaces. His characteristic hybrid creatures float between the real and the imagined, treasure and trash, human and animal, angel and demon. The pot is painted matte black, with engravings carved into the black metal surface, exposing the bright metal underneath in sharp, short cuttings. Some of the drawings include a nude female body with wings. Another being has a bird’s beak for a head. Next to the bird-headed figure is a silver looking mermaid with a rustic, roman-like helmet. A short, naked man looks at the buttocks of a nude woman to his left. He has hooves for feet and horns on his head. Fabelo’s drawings on his pots recall nightmarish ghouls, or bizarre fairy tale creatures that both attract and repel. There are some general patterns in the etchings that encircle the pot. The women are shown as classical nymphs, mermaids, and angels. They are embellished with seashell helmets, tails, wings, or fish spines. The men by contrast are part human and part insect.
Roberto Fabelo
Roberto Fabelo — b. 1951, Guáimaro, Cuba; lives in Havana
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